Sentences with phrase «as classical figure»

Cynical Realists borrowed imagery from various traditions, including Surrealism and Symbolism, as well as classical figure painting.

Not exact matches

The idea of Jesus arose like so many other religious and mythical figures, particularly Classical Greece, and just as the Greek gods were revered and accepted as real, so too is this Jesus Christ figure.

But, as with other classical figures Eke Luther and Calvin, Wesley reveals another side which is illustrated in his dealing with problems of chronology, his understanding of the biblical use of non-biblical sources, his judging of much of the Psalms as «unfit for Christian lips,» and so on.

These debates will no doubt continue as they do for other classical figures whom the fundamentalists wish to claim for their side of the argument.

Portrayals of classical subjects, such as Lucretia and Cleopatria, as well as of allegorical topics, increasingly depicted female figures with exposed breasts.

The old interpretation of the classical prophet, the «name» prophet, as a grandly isolated figure has been attacked and largely routed from yet another quarter.

James Levine, whose 46 - year career at the Metropolitan Opera established him as a towering figure in classical music, was fired by the company on after an investigation found evidence of sexual abuse and harassment.

LEVINE»S CURTAIN CALL — Associated Press: «James Levine, whose 46 - year career at the Metropolitan Opera established him as a towering figure in classical music, was fired by the company on Monday after an investigation found evidence of sexual abuse and harassment.

We had to figure out, bit by bit, how to create a continuity between two worlds of Ireland and America — but also how the film aesthetically should become more classical as it was going on, as [Saoirse Ronan's] character [Eilis] was developing.

Its figures are solid and impassive, seemingly at odds with the notion of flight (despite the numerous birds and birdlike creatures that also fill the space), and they are representational (depicting images as realistically as possible) at a time when more «cutting - edge» artists were discarding classical techniques (not to mention fussy media like egg tempera.)

At Fourteen30 Contemporary, Rafferty, a participant in this year's Whitney Biennial, presents new work concerning language and the body, a connection bridged through the concept of «figure drawing,» which applies both to the classical practice of artists observing and representing a model as well as using the innate elasticity of words to suggest multiple, sometimes contradictory meanings.

The book contains short stories, poems, and excerpts from novels and plays, written by classical literary figures of the region, established contemporary authors, as well as domestic workers, with some having been commissioned following their participation in our reading group.

Included are portraits of personalities such as Vincent Minnelli, Jane Fonda, the Marx Brothers, Louis Brandeis, and Sitting Bull, important German and Swiss figures Mildred Scheel, Max Bill and Joseph Beuys, commemorative images, such as Truck and The New York Post and a reinterpretation of the classical painting «The Annunciation».

This large - scale bronze playfully casts the classical female figure, reimagined in Giorgio de Chirico's surreal paintings, as if she is made of crudely carved polystyrene, further debunking the fetishized art historical form.

It brings together leading avant - garde composers of the early postwar period such as Elliot Carter, Pierre Boulez and Karlheinz Stockhausen; pioneers of electroacoustic music such as François Bayle, Pauline Oliveros, Iannis Xenakis and Peter Zinovieff; minimalist and Fluxus - inspired artist - musicians such as Tony Conrad, Henry Flynt, Phil Niblock, Yoko Ono, Steve Reich and Terry Riley; and figures that have moved between classical / experimental realms and more pop terrain, such as Brian Eno, Kraftwerk, Howie B., Arto Lindsay and Caetano Veloso.

Spearheaded by Leon Golub and united by a shared interest in the figure during a period that is often seen as dominated by abstraction, the group created deeply psychological works that drew on classical mythology and ancient art.

Utilizing the classical technique of chiaroscuro, Opie's subjects — including culturally significant figures such as fashion designers Kate and Laura Mulleavy of Rodarte, artist Kara Walker, and director John Waters — are posed in front of a black drop cloth and theatrically lit, intimately dramatizing the details of the face and body.

His devotion to the figure, his embrace of expressionism, his fusion of modern and classical sources, and his commitment to social justice distinguish his practice as an artist.

The figure of «Neptune,» acts as a physical chimera of mythologies, conflating classical and Christian motifs into one «idol.»

I saw it as a timeless classical figure which held the memory of its magnificence even in its reduced size... I was painting still lifes in the late 1970s, and I would include it, the plaster cast.

Carefully chosen to highlight the important influences and experiences which they shared, this new exhibition aims to bring a fresh perspective to Francis Bacon and Henry Moore, exploring themes in their work such as «the Biomorphic / Picassoesque form», «the human head», and «the Classical figure».

Since it's an academy that has been supported by both Andy Warhol and Prince Charles, and prides itself on both traditional methods, such as anatomy and indirect painting, and on contemporary discourse, I thought it would be compelling to take the long view and explore how and why the classical academic tradition has impacted the present state of figure - based art.»

As natural light fills much of this classical living space, their work breathes and converses like exotic figures lounging in the living room or sitting with you at the dining room table.

The part - figure throws a shadow behind itself that masquerades as a traditional sculptural form - perhaps a classical Greek sculpture with its arms and head lost over time, or the fragmented body of Auguste Rodin's headless and armless «Striding Man».

Derived from the figure and mythic narratives, Hadzi's sculpture references antiquity and classical artifacts — abstracted anatomical forms, columnar and other architectural elements, helmets, weaponry and body armor function as visual metaphors for ancient cultures.

Boundlessly curious, Durham takes on subject matter ranging from specific historical events or figures — such as Malinche and Cortés — to classical architecture, religious martyrdom, quantum physics, and literary sources from Shakespeare to José Saramago.

Opie shot to fame in the 1990s with her classical portraits of lesbian, gay and transgender figures, as well as her beautiful landscapes.

The recurrent element in Gabriel Vormstein's work is the use of newspaper as the artist's chosen canvas along with classical female figures, which he draws after Egon Schiele's models.

For the Karlsruhe exhibition, classical modern artists and avant - garde figures from the 1960 / 70s like Josef Albers, Daniel Buren, Francois Morellet, Gottfried Honegger, Friedrich Vordemberge - Gildewart, Richard Artschwager, Robert Ryman or Herman de Vries are placed alongside young artists such as Doug Aitken, John M Armleder, Tacita Dean, Cor Dera, Sylvie Fleury, Bernard Frize, Gail Hastings, Isabell Heimerdinger, Gerold Miller, Jonathan Monk, Kirsten Mosher, Ugo Rondinone, Karin Sander, Pietro Sanguinetti, Simone Westerwinter, Georg Winter and Andrea Zittel.

The unheroic nature of modern dress was seen as a major obstacle in the depiction of contemporary scenes, and the Scottish gentleman - artist and art dealer Gavin Hamilton preferred classical scenes as well as painting some based on his Eastern travels, where his European figures by - passed the problem by wearing Arab dress.

She is known for photographing sculptures and three - dimensional still - life assemblages of her own making, [2] some of which she destroys after the photos have been taken, as well as for creating images of classical figures and architectural details and their relationship to space.

Although he was initially labeled a Fauve (wild beast), by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting.His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half - century, won him recognition as a leading figure in modern art.

This most recent decision quotes one of the many judges who have been involved in the case commented, as far back as 1980, as having described the parties as «figures in a classical tragedy, bent upon destroying that which surrounds them and especially their monetary inheritance».